A Mystery Of Errors

8

Green Oaks, the sprawling estate of Sir William Worley, was one of the most palatial homes that Smythe had ever seen. He had heard that the queen herself often visited Green Oaks, usually in late June or early July, when she would habitually leave London in procession with her entire court and make her summer excursions through the countryside, staying at various private residences. Green Oaks was where she usually began. Ostensibly, these excursions were a way for the queen to go out among her subjects every year and see some of the land she ruled. Co-incidentally, they also got her out of London during the height of the plague season and allowed her to vacation in the country at the expense of her hosts. And these royal visits could apparently be quite expensive, as they required that the queen be entertained and could last anywhere from a month up to six weeks, or whenever the queen grew bored and decided to move on. It was not unusual for one of Her Majesty’s hosts to shell out from two to three thousand pounds to pay for such a visit, but most considered the princely, indeed, the queenly sum well spent in exchange for the favor and influence they believed it could procure.

Obviously, if Sir William could afford to entertain the queen in such a fashion on an annual basis, he had to be fabulously wealthy, and his estate gave ample testimony to the size of his fortune. Located well outside the London city limits, on several hundred lushly wooded and meadowed acres, the house was a huge, rough-hewn, gray stone edifice laid out in the shape of the letter “H,” with a windowed hallway as the cross-stroke separating two large interior courtyard gardens.

Smythe had ridden one of the stable post horses out to the estate and as he trotted up the road leading to the house, he wondered what would come of this visit. He had not yet made up his mind about Sir William, but more to the point, he wondered if Sir William had made up his mind about him. He knew that he could very easily disappear during this visit, never to be seen again, and no one would ever think that Sir William could possibly have had anything to do with it. Only Shakespeare would know, or at least suspect what might have happened, and who would listen to a penniless young poet? Especially when it was his word against that of one of the richest men in the land.

As Smythe turned his mount over to one of the servants who came out to meet him, he gazed up at the imposing residence and took a deep breath, marshaling his courage. Just the idea of a visit to such an opulent place would ordinarily have been enough to make him feel intimidated, much less visiting it under such peculiar and possibly even dangerous circumstances. The man who lived here was not only one of the richest and most influential men in the country, he was also a brigand who robbed travelers on the roads leading to London, a flamboyant highwayman who called himself Black Billy. It seemed absolutely insane. And yet, Smythe knew it to be true. And Sir William knew he knew.

What Smythe couldn’t understand was why. The man seemingly had everything. Entering the house, he could see walls paneled in imported woods and hung with rich tapestries, ceilings patterned with delicate plaster ribs forming arabesques, geometrical forms and figures of birds and beasts, each room different from the other. There were ornate staircases, some straight, some spiraled, with solid oak block steps and massive handrailings and newel posts, all heavily and intricately carved by master artisans.

He was conducted to a great hall with a long gallery, just like in a castle throne room, from which people could look down on what was happening below or, alternatively, Smythe thought, from where archers could shoot down at anyone who was being a boorish guest.

He grimaced. The suits of armor standing at either side of the entrance to the chamber had given his mind an unpleasantly martial turn, as did the maces and the battleaxes and the morning stars hanging on the walls, alongside pikes and halberds and great swords and shields and bucklers. It looked like the armory at Tower of London, another place he was anxious to avoid.

I’ve made a mistake in coming here, he thought. There was nothing to be served in doing this. He did not belong here. Was assuaging his curiosity truly worth taking such a risk? He decided, despite his apprehensions, that it was. It could have been pure chance that he had happened on Black Billy on the road to London. Shakespeare had not run into him. The poet had not, in fact, run into any robbers at all on his way from Stratford, but perhaps that was because he had not been traveling alone. He had said that he had fallen in with a company of travelers for the sake of safety in numbers. It must have worked. Smythe had traveled alone and been accosted several times. So, perhaps it was mere chance. But then to run into him again in London, in that tavern-and in the company of Marlowe, when it just so happened that he, too, was in the company of a poet, albeit one who was not yet successful-it simply seemed as if there were some fateful influence at work here. And Sir William had invited him, after all. If he had wanted to dispose of him, he would certainly not have needed to invite him to his home. Assassins could be hired cheaply from among the men who loitered around Paul’s, cheap even for men with far fewer resources than Sir William could command.

“Young Master Smythe, was it?”

Smythe turned to see Sir William entering the hall. He was dressed very plainly in black doublet and hose, and a pair of silver buckled shoes. “Aye, sir,” Smythe replied. “Though I cannot truthfully call myself a master of any art or craft. Did I come at an inconvenient time, milord? I could easily come back another day, if you prefer.”

“Nonsense. Today is perfectly convenient. And you are welcome at Green Oaks. May I offer you some wine?”

“You are most kind, Sir William, but I would not wish to put you to any trouble on my account.”

“Trouble? I have more wine in my cellars than I could possibly drink in a lifetime. Someone’s going to have to help me drink it, you know. It can’t all go down Her Royal Majesty’s alabaster throat. And I would much rather it be an honest man who drank my wine than all those dissipated hangers-on at court.”

Smythe smiled, despite his discomfort. “In that event, milord, it would be both an honor and a pleasure.”

“Excellent. You should find a decanter of port and several glasses over on the sideboard there. Be a good fellow and pour us both a drink. I have given strict instructions that we are not to be disturbed.”

Smythe glanced back at him as he made his way over to the heavy, carved mahogany sideboard. “That sounds rather ominous, milord.”

Worley raised his eyebrows. “Does it? Are you afraid that I shall do away with you in here and secret your body underneath the floorboards? ‘Twould eventually make the room smell rather piquant, don’t you think?”

Smythe brought him a glass of port. No pewter or clay goblets here, he thought, but the very finest glassware. “To be sure, milord. In any event, ‘twould be a far more elegant resting place than a man of my lowly station would deserve.”

Worley raised his glass. “I see. Well, what shall we drink to, then? To… proper resting places? From each according to his ability to each according to his need? Hmm. In that event, paupers would be buried in Westminster and half the men at court would be thrown into Fleet Ditch.”

Smythe chuckled. He was finding it impossible not to like the man. “Why not drink to chance encounters?” he said.

Worley grinned. “Splendid! To chance encounters, then.”

They raised their glasses and drank.

“And ‘twas, perhaps, our chance encounter that you wanted to discuss?” said Smythe.

“Which encounter?” asked Worley. “You mean the first or the second?”

“The first, milord. That day in the country, near the crossroads and the inn known as The Hawk and Mouse.”

Worley smiled. “Ah. That encounter. Well, then. What of it?”

Smythe shook his head. “I… do not understand, milord,” he said. “Why?”

Worley simply shrugged. “Why not?”

“But… you have everything, milord. Everything that it seems to me a man could conceivably want. Wealth, position, power, and influence… ‘twould seem you lack for nothing. Why play at being some lowly highwayman?”

“I do it for the fun,” Worley replied, bluntly.

“Fun?” said Smythe, with disbelief.

“Aye, fun,” said Worley. “Is that so difficult to comprehend? That a man in my position might feel the need for some occasional stimulation? Some skylarking? A bit of fun? Besides, I am not just any highwayman, you know. I am the infamous Black Billy. Why, there are ballads and broadsheets written about me. You can pick them up in the stands down by St. Paul ’s. I have most of them here. I collect them. True, they exaggerate my exploits considerably, but I find them quite amusing.”

“But… what of the risk, milord?”

“The risk?” Worley shrugged. “Oh, I suppose there is some slight risk, but that only makes it part of the fun, you see.”

“Surely, you must realize that if they catch you, you shall hang.”

“You think? Well… I may hang, I suppose. And then again, I may not. The queen is rather fond of me, you know. But she is a bit of a stickler for form. She might be moved toward clemency, or else she might just have me beheaded. Bit quicker that way. Or so they say. In any event, I should think the odds are greater that I might be killed during a robbery, rather than be apprehended.”

“How can you discuss this with so little concern?” asked Smythe, amazed not only at the substance of their conversation, but at Worley’s casual tone about it.

“Because it does not concern me,” Worley replied.

“But… how can it not, milord?” Smythe asked, with exasperation.

“Look, sit down, Smythe, and stop standing there looking like some great self-righteous oak. If you will give me your attention for a few moments, I will endeavor to explain.”

Smythe obediently sat.

“Good,” said Worley, remaining on his feet, rather to Smythe’s discomfort. He did not feel that he should be sitting in the presence of a knight, but then again, sitting in the presence of a brigand certainly seemed permissible. The protocol of the situation seemed rather confusing, not to say unsettling.

“Now then,” Worley continued, pacing as he spoke, “as you have quite correctly pointed out, I am a very wealthy man. And I, indeed, have everything. Or so ‘twould appear, at least, to anyone such as yourself. I could easily sit back and rest upon my laurels, like the rest of the slothful, parasitic fools who make up the larger part of our blue-blooded nobility, but then, such is not my nature.

“You see, Smythe, I did not inherit the fortune I now possess. I earned it. Or else stole it, depending upon one’s perspective. Either way, 1 worked damned hard to get it. And I enjoyed getting it. Every damned bit of it. From my very first business venture, in which I risked every single penny I had earned since boyhood and parlayed it into my first ship, to the latest addition to my fleet, which is even now under construction in Bristol and promises to make Drake’s Golden Hind look like a river barge, I have played the game of risk and won. Well, occasionally I lost, but losing is just part of the game. And the ones who play it best are those who are not afraid to lose.

“Look about you, Smythe,” said Worley, indicating their surroundings with a sweeping gesture. “What do you see? Opulence. Grandeur. Elegance. Taste… Well, I am not so sure about the taste part, for some of this monstrosity I call a home is rather overdone, I must confess, but the point is, it is the refined and genteel residence of a knight of the realm, soon, perhaps, to be a lord, as strange as that may seem. And yet… and yet… how did I get here? How did I achieve all of this?”

Smythe simply stared at him, uncertain as to whether the question was rhetorical or not. Worley was looking at him as if he expected an answer, but Smythe had none to give. Or else, all he could do was repeat back what Worley had just told him.

“Through hard work, milord?”

Worley snorted. “Through piracy, my lad. Through piracy. I worked hard at it, to be sure, but it was piracy, nevertheless.”

“Piracy, milord?”

“Aye. Drake, Hawkins, Frobisher, the rest of them who either sail my ships or else have bought them from me… all pirates. A slightly better class of pirate, I will grant you, than your tarry-haired, rum-swilling, eyepatch-wearing, smelly buccaneer, but pirates, nonetheless. They attack ships and loot them, take them as prizes when they can and sink them when they cannot, and they are wined and dined as heroes here in England, instead of being strung up to dangle from the gallows. And why? Because they attack Spanish ships. And because the queen gets a share of all their booty. And that makes the queen no less a pirate than all the rest of them.”

“I cannot believe that you would call the queen a pirate!” Smythe said, with astonishment.

“ ‘Tis the truth,” said Worley, with a shrug. “And believe it or not, in private, she would even admit to it. Her Majesty is nothing if not practical. She always sees a thing for what it is, and not for what it should be or could be. And if she is not always honest with her ministers and courtiers and other heads of state, she is unfailingly honest with herself, which is why I rather like the old girl. She is a woman who has made her way in a man’s world without ever once submitting to a man, and she has done so with courage and intelligence, duplicity and guile, good-heartedness and malice, trickery and effrontery, and pure, unadulterated rapaciousness, God bless her great black heart, and I love her better than I loved my own sweet mother because I understand that wondrous royal bitch. She, young Smythe, is every bit as much a thief as I am. And what is more, she revels in it!”

“As do you,” said Smythe, as comprehension dawned. “Except that it sits ill with you to be so far removed from it as her. You cannot be a sea-going brigand, at least not anymore. It would ill suit a man of your position. But if you are going to be a thief, then you prefer to do the stealing with your own two hands, rather than have others do it for you. That way, at least, you own what you have done, and experience the thrill of it.”

Worley pointed a finger at him and shook it slightly. “Ah, there, you see? I knew you were a smart lad from the moment I laid eyes upon you.”

“You are most gracious, milord,” said Smythe. “But the one question which puzzles me above all others is… why me? Why take me into your confidence? Merely because you know that I could never be a threat to you?”

“In part, that,” admitted Worley. “But also because there was something about you that bespoke a difference from your usual, common sort of lout. ‘This one has promise,’ I said to myself. ‘This one, given half a chance, is going to amount to something.’ I always recognize talent when I see it. ‘Tis a gift. I felt the same sort of thing about young Marlowe when I met him.”

“Have you taken him into your confidence, as well?”

“Marlowe? Perish the thought! He, unlike you, is dangerous. He is the most rash, impetuous, demented young fool that I have ever met, for all his brilliance.”

“I should not think that he would be any more capable of being a threat to you than I could,” Smythe said.

“On his own, perhaps not,” Worley replied, “but Marlowe has some secret friends. Powerful friends. And he does not even realize how powerful and unscrupulous they are, more’s the pity. More wine?”

“Uh… Aye. Please.”

“Help yourself. Oh, hell, bring the whole decanter over. Are you hungry?”

“I could eat, milord.”

“I have some of the queen’s own venison being prepared. There is plenty. You shall stay for supper.”

“You are most kind, milord. But you were speaking of Master Marlowe and his secret friends? Why secret?”

“Because they deal in secret things,” said Worley. “Among them, murder.”

“Murder?”

“Aye. Murder and intrigue. And at the highest levels.” “The highest levels of what, milord?”

“Of government, my lad, of government. Marlowe is a spy, the wretched soul.”

“A spy! “

“Aye, he allowed himself to get drawn into it while he was pursuing his studies at Cambridge. A nasty, complicated business. Papist versus Protestant, Rome versus England, with dashing young Kit Marlowe all caught up in it and playing both ends against the middle.”

“He told you all this?”

“Nay, I have other sources. Astonishingly enough, Marlowe can keep his mouth shut about some things. To a point, anyway. But he is irrepressible and, as his patron, I have been duly ‘cautioned.’ As an intimate of the queen, you see, I do receive some consideration. Especially since my ships have been so instrumental in helping line the pockets of the Privy Council. But enough about Marlowe. Believe me, the less you know about his intrigues, the better. You wanted to know why I am telling you all this, why I should take you into my confidence.”

“Aye, milord. It seems… rather unusual. I mean, you do not know me, really. True, ‘tis most unlikely that anyone in his right mind would take my word about anything over yours, but nevertheless, there is still the possibility that I might compromise you- or Master Marlowe-in some way. That is to say, I assure you that I would not, at least not intentionally, but how do you know that I would not?”

Worley chuckled. “Because you say such things, that is how I know. And because I do not know as little about you as you think. I have made inquiries. I know all about your father and his recent difficulties, for one thing, and I know about your uncle, for another. I was most especially interested in him, considering your claim that you could craft a sword superior to the one I loaned you. Was it merely arrogant boastfulness or simple honesty? As your uncle was the man who taught you, I was keen to learn what sort of work he did. Now, I believe you.” Worley reached down to his side and drew a dagger from a sheath at his belt. He placed it on the table and slid it across to Smythe. “You will recognize the workmanship, of course, even without your uncle’s maker’s mark on the ricasso. The craftsmanship is among the best that I have ever seen.”

Smythe picked up the dagger, already knowing it to be his uncle’s work. He swallowed nervously. “I take your point, Sir William.”

“I think you miss it,” Worley replied, seeing the expression on his face. “I am not threatening your family, Smythe. I could, of course, but that was not my purpose. I wanted to find out more about you. That day on the road, I saw something in you that I do not see in men very often. I saw a remarkable forthrightness, and a complete lack of fear. Those are very admirable qualities. Admirable and rare. And they should be encouraged.”

“I am not fearless, Sir William,” Smythe said. “In all honesty, I was a bit afraid to come here.”

Worley shook his head. “I do not believe you were, else you would not have come. I have no doubt you felt some apprehension, some uncertainty, to be sure… but fear? You are not the sort. You do not seem to have it in you. I sat astride my stallion with a pistol aimed straight at your chest and you did not blink an eye. You exercised the proper caution that the situation called for, yet you kept your head and even bantered with me. I admired that in you. It reminded me… of me. And you know, as enjoy-ably diverting as it may be to be Black Billy, the infamous highwayman that every schoolboy sings about, a large part of that joy is lost in not having anyone to tell about it. Well… now I have you.” He smiled. “So, what say we take a quick look at that forge I promised you before sitting down to supper? You still owe me a sword, you know.”

The play, thought Shakespeare, was appallingly inept. Its failure to draw a decent audience at the Theatre was not due to any particular failing of the actors, although from what he’d seen, the only really good performer in the company was Ned Alleyn, and he had just quit. Things were not looking very promising for the Queen’s Men, but despite any flaws in the company’s performance, the main fault lay in the play itself.

Part of the problem was that it was not a new play, but one that had been adapted from other sources and rewritten many times, so that he no longer had any idea who the original author was or precisely what had been intended. This particular version was credited to Greene, and it had his stamp all over it. The Honorable Gentleman was full of literary references and high-flown academic speech which suffered from the same pretensions that it aimed to satirize, and in those cases where these allusions did not go straight over the heads of most people in the audience, they were explained awkwardly by other characters, who were simply leaden in their coarseness and derision.

The honorable gentleman of the title was a prosperous merchant of the rising middle class, with pretensions to gentility, and throughout the play, he was held up as an object of cruel mockery and ridicule. His employees stole from him, his suppliers cheated him, his wife cuckolded him, and throughout, the main character remained blissfully unaware and foolishly convinced of his own genteel superiority. It was, thought Shakespeare bleakly, crass pandering to the groundlings and as unoriginal as sin.

The speeches were all grandiose and peppered with crude jokes, which seemed to be there for no other purpose than to break up the monotony of the declamation by allowing some character or other to play the fool and caper for the audience. At some point, perhaps, there was a cohesive story that somehow got lost along the way as a result of too many cooks pissing in the stew. And now, he was going to piss in it, as well. He was not at all convinced that his efforts would improve the flavor, either. Still, he had to try.

He had been up all night, working on it. At first, he had thought that he could simply polish a bit here and improve a little there, and tighten some things up a little overall, but it soon became apparent that nothing less than a complete rewrite would do. And that would not save the next performance, because there would simply be no time in which the members of the company could learn all their new lines. The task seemed utterly impossible, especially given the time constraints he had to work under. Had he begun from scratch, with a completely new, original play, it would have been much easier, but that was not what he had been asked to do. His job was to rescue this one. The trouble was, he could not generate any enthusiasm for the project, because he simply hated it.

Nevertheless, this was going to be his chance to show what he could do, and if he failed to deliver something much improved, he had little doubt that there would ever be another opportunity to prove himself, at least to this company. Somehow, before he could even entertain the notion of submitting his own plays for consideration, he had to make a start and convince them that he knew his business, that he could turn a phrase adroitly.

The main problem, aside from the awkward writing, which clearly, at least to his eyes, showed an author whose talents were well and truly on the wane, was that the characters were not very well delineated. They were stock characters, and nothing more. They had no complexity and were not drawn with any imagination. There was nothing to differentiate them from any number of similar characters in similar situations, which the audience had seen many times before. They were crude rather than subtle, snide rather than clever, bitter rather than ironic, and loud rather than brash. In short, every brushstroke throughout the play was broad and heavy-handed. And Shakespeare was not sure how to fix it short of simply tearing it all up and starting over. Unfortunately, that was not an option.

After agonizing over it for hours, he had finally decided on a course of action that might, perhaps, allow him not only the chance to prove he could improve this play, but gain more time to do so in the process, while still managing to meet the deadline. The trick, he thought, would be to improve the play in stages.

They had already committed to the next performance; the playbills had all been posted. The company could, if absolutely necessary, decide to put on another play at the last moment, but that might not sit well with the audience. Therefore, he decided to select certain scenes throughout the play where the alteration of a line or two, or even a short speech, would effect a slight improvement or produce a bigger laugh, so that the actors would not find themselves in the difficult position of having to learn too many new lines in only a few hours, at best. Then, he would spread the changes out in such a manner that they would gradually move the play along in a new and hopefully improved direction. But to do this, he would have to map out all the changes first, before deciding on the stages in which they would progress. He had spent most of the night and early morning doing so, and now he was exhausted.

He had been working by candlelight when Smythe went to sleep and he was still working in the morning when Smythe got up and went out to see Sir William. Shakespeare wondered how that was going. He felt a bit concerned for his friend, but reasoned that Smythe seemed to know what he was doing. Shakespeare still found it difficult to believe that Sir William was actually Black Billy, the legendary highwayman, but Smythe seemed certain of it and he had learned by now that his roommate was not given to idle flights of fancy. He was anxious for Smythe to return, so that he could hear all about their meeting. It would surely be a great deal more interesting, he thought, than working on this miserable play.

He put down his quill, removed his light, close-fitting, deerskin writing glove, which had no mate for he had made it himself to keep the ink off his fingers, and rubbed his eyes, wearily. For a moment, his tired gaze focused on the quill, which he had laid flat on the table, and the well-worn, ink-stained writing glove beside it. The parchment, quill, ink pot, and glove looked rather like a still-life composition, the sort of thing that art students would practice at before they moved on to the more advanced techniques of portraiture. And, coincidentally, it also made, in a sense, for a portrait of his life… what it had been, and what it could yet be. The product of the glovemaker, next to the product of the poet. He could go in either one direction or the other. And this present task might well establish which direction that would be.

Perhaps it would not all come down to this, he thought. Even if he failed at this task of doctoring the play, there could yet be other opportunities to prove himself, though he did not know when or even if those opportunities would arise. The iron was, perhaps, not yet glowing hot, but it was warm, and it was up to him to strike just right, and in the proper time. He could not afford to dwell upon the play’s deficiencies and bemoan Greene’s clumsy unoriginality. To keep thinking about such things would make the task weigh even more heavily upon him, and he would start to work more and more slowly, taking more and more frequent breaks, and before he knew it, all momentum would be lost entirely. He needed to think of the play merely as a framework, a scaffolding upon which he would build a more solid and finished edifice. It was not the sort of beginning he had hoped for, but it was the beginning he would get… if he could properly begin it.

By the time midday was approaching, he had mapped out all the changes he would make to the whole play and finished the first and second stages. In all, there would be five stages of gradual changes to the play, each one adding new lines and new scenes for every part, and dropping others, until by the time the third stage was completed, it would be a play that was significantly different from the original version-or to be more precise, Greene’s rewrite of whatever the original version may have been-and by the time the fifth version had been staged, it was a completely different play entirely. This way, Shakespeare thought, the actors would not be overwhelmed by having to learn too many different lines and scenes and cues, and the audience would have an unusual opportunity to see a work in progress, a play being performed even as it was being rewritten. It struck him as a novel experience, and anything new could only help the Queen’s Men at this point. They certainly needed help of some sort after that last performance.

Now all that remained was to get the play to Burbage and, unless it was deemed completely unacceptable, a frenzy of activity would begin down at the Theatre. It would be necessary to make a clean and legible “fair copy” of the play for submission to the Master of the Revels, for which purpose a scribe was usually employed. Poets… or playwrights, as some thought poets who wrote plays should be called, though this made it seem more like a craft rather than an art… were not generally known for their calligraphic skills. Their first drafts were usually covered with ink blottings and crossed-out lines and changes written in the margins and between the lines and, not infrequently, food and ale or wine stains. Hence, the term “foul papers” for the manuscript initially submitted.

The company scribe who made the fair copy was often the bookkeeper, and he needed to be especially trustworthy, for no acting company wanted to see any of its plays fall out of their hands or, worse yet, be published. That would mean that rival acting companies could get their hands on them and thereby stage rival productions. Of course, there was really nothing to prevent a rival company from sending people in to mingle with the audience at a popular play staged by the competition and thus try to copy down the lines, but this was a rather more difficult and time consuming enterprise, not to mention potentially risky if the offending copyist was caught in the act.

In this case, Shakespeare knew that there would not be time enough to produce a fair copy of the play before the next performance, which entailed several potential problems. The first order of business would have to be producing new scrolls for each actor, detailing the alterations in each part. Fortunately, his handwriting was reasonably legible, for given that only a few hours remained until the next performance, everyone in the company would be enlisted in this task, which was usually the province of the bookkeeper. The remainder of the time would be spent in learning the new lines and blocking out any necessary changes in the action on the stage. It would not be easy, but Shakespeare had anticipated this and allowed for it by the expedient device of altering the play in stages. And that was both a solution to the problem and a potential problem in itself.

The fair copy that would be produced would most likely be of the finished fifth stage of the rewritten play. In the meantime, the actors would participate in having their individual changes written out. Under ordinary circumstances, this would be the province of the bookkeeper, who would take the edited and marked-up manuscript that came back from the Office of the Revels and write out each part separately on scrolls, which would then be handed out to the actors who would play each part. Except that in this case, there would be no time to submit a fair copy to the Office of the Revels, and consequently, no time to have it reviewed and stamped.

The role of the Master of the Revels, to whom every new play had to be submitted for review, was to scrutinize each manuscript and look for any criticism, real or implied, of government policies or of the Church of England. If any such offending lines or scenes were found, the Master of the Revels would then strike them out, or else demand that the company strike out the seditious or offending lines or scenes before the play could be produced. Once that was done, the play would then officially be stamped for approval, at which point it could be staged. Except that with the next performance only hours away, there would be no time for that.

This could, thought Shakespeare, involve a certain element of risk. As the play stood when he first came to it, it had already been approved. But by the time the fifth stage of changes was completed, it would be in essence a completely different play. At that point, obviously, a fair copy could easily be submitted to the Master of the Revels and there would be ample time for it to go through the approval process. The question was, what about the earlier changes?

It was not at all unusual for actors to make ongoing changes to a play as it was being performed without the Office of the Revels demanding that each and every little change require a separate stamp of approval. But at what point would the Master of the Revels feel that The Honorable Gentleman had become a brand new play?

Shakespeare felt reasonably certain that they could get away with at least the first and second sets of changes, and possibly the third, especially if they did not change the title. But by the time the fourth set of changes was incorporated, it would really be a different play. By then, he reasoned, they would be ready to submit the fair copy for review. There would have been more than enough time for it to be prepared, and in the meantime, the company could easily stage other plays in its repertoire. But would the very next performance be safe from censure?

In all likelihood, he thought, it would. It was, however, up to the company to make that determination, because the Master of the Revels could not only fine a company for violations, he could stop a performance, close down the playhouse if he chose, or even send the author and the members of the company to prison. Still, the chance of anything like that occurring would be very slim, thought Shakespeare, considering that his rewrite of the play was aimed solely at making it more amusing, without including any controversial content of either a political or religious nature. He had no axe to grind, after all; he merely wanted to prove his ability so he could get a better job.

The final step, which would take place just prior to the performance, would be the hanging of the “plot,” a large sheet of paper pasted on wood or cardboard that the bookkeeper would write out and hang upon a nail in the tiring room. Here would be written out the cast, the props, the cues for entrances and exits, what sound effects were needed and when, and other incidental stage business. This would be consulted throughout the performance to ensure that things ran smoothly. And if all went well, thought Shakespeare, there should be time enough… perhaps just barely… for everything to come together for the next performance.

He sat back, rubbed his eyes wearily and stretched his stiff muscles. He had done the best job he could, considering what they gave him, but he had managed to improve it, and that improvement would be evident with the very next performance. He took a sip of wine, then pushed back his bench and rose to gather up the manuscript. At the same moment, someone started frantically knocking at the door.

“Never fear, Burbage, I have finished it!” he called, going to the door and opening it. He blinked. Instead of Richard Burbage, a beautiful young woman stood there, clasping her hands and gazing at him anxiously.

“Mr. Smythe,” she said, looking past him into the room. “I must speak with Mr. Smythe at once!”